200YEARS-010724 - Flipbook - Page 149
SAWASDI TANTISUK
2/?2 >N !?%!>2B
(1925 - 2009)
0>/!>?ON0?N0/ 2@@>111/ .0. 2498
0>/!>O3N@> 2@@?00>/!N (>111/) .0. 2534
?10>/!> 2@@?00>/!N .0. 2558
P&2"N/?22>2>
1959/2502
Oil on canvas
50 X 70 cm
Signed (lower right)
O B 0/##1 2500 2/9 2 >N 9 > 2B RO #9 B :#0@ 1:
Q3ORN#?"0>%8?P Accademia di Belle Arti di Roma 5:
:#0@1:%:50>%>#89P%Q>> 9NN: N O%O/
2/92>N"9RO#9O#9:%Q5"N:N/!O::##8N/!
N!A5NN:O%8P#:2:Q#8N05>:%? :>/90NN!A5NN:
Q5>:%?2?P /92>/N :R/O3%:" :%:"NO>###!>Q 2ÿ:9Q
#8/90> :2#N0%> N Q:8?NP O%:"BBN>5>###!
@P:!##!?Pÿ:R2CN:!##!5"N:2!C#NQN/%:N5!:
In the early 1950s, Sawasdi Tantisuk received a scholarship
to study art at the Accademia di Belle Arti di Roma. Beyond
learning the works of world-renowned artists in various
museums, Sawasdi drew immense inspiration from exploring
ancient cities and historical sites in Italy. His landscape
paintings of old Italian towns became significant works
in art history, marking the early stages of Semi-Abstract
painting that eventually evolved into complete abstraction.
>###!2?ÿQ:!9?P!?AP5/N: P2N5922>2> NO :?P2/92>NN?"@Q
:!B!!5O:55%BN!2:?"##!5 Basilica of
Saint Francis of Assisi P2N:5%> QN!A5 Assisi QO/O
Umbria ?5P "CN 5%:5#8N05>:%? 2#O:@Q Q0/##1?P 13
#CO52:?"##!NO:#2!2:9#83/N:O/:
5 Romanesque 9 Gothic 0:22:O3N?QNOB3!:"
2ÿ:92ÿ:3#9:#O2/B5:/#>2N?" ?B9RO#9:#
@Q8N?"NO!#P%P" UNESCO
One of his notable oil paintings,
N /: :2?ÿQ:!9 :?QO/":#QON#?":O:"Q3ONO
#N5#5"52?O3": N O%O/QOCN9NONON2O5N5
2:?"##!Q:B 2/92>N:O:"2?Q3ONOÿQ:395O2
O%8N: Q:B?PNON53O:N:O%8BO!#8CRO#9:#:
O:"O/"2?ÿQ::%NO!N5Q3ON>ÿQ:39?PNO!%@ ÿ:Q3O :P2N
P#: :?Q !?!>> 52? O %8ÿQ : 39 ?P %3%9P 9 5"N : 2%9
9O5 CO3> 2 ?P"A5"CNNAQ53O:P2N5922>2>C%O:"9
2>P!??/>?Pÿ:%9C%AQ3ONONAQ5N?"/9P#:2:O3N?Q
/:!3":5NAQ52? O%8P2?ÿQ::%5 : ÿ:Q3O%:
>Q?Q!?%939ON28NA55:#!N O%8OR/OO/"%>P5:"
5:#"O5#ÿ:%@/:!3%9?NP O!RO/"N2N3N @ C5:#!NO%8
/:!#CO2@
Sawasdi painted this oil painting using a palette knife to
create rough, textured strokes, and he used a brush to define
some areas9 architectural outlines. He applied colours to
create the effects of light and shadow, with dark brown
strokes emphasising the windows and archways, adding
depth and complexity to the image. The two women
standing before the Basilica appear absorbed into the
ancient structure. The rough texture and brown tones give
the painting a powerful and evocative presence, imbued
with a nostalgic charm that deeply engages the viewer9s
emotions and senses.
147